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The evolutionary processes must proceed with extreme deliberation. The radiation of the heat actually present at any moment in a large helium star would probably not require many tens of thousands of years, but this quantity of heat is negligible in comparison with the quantity generated within the star during and by the processes of condensation from the helium age down to the Class M state. We know that the compression of any body against resistance generates or releases heat. Now a gaseous star at any instant is in a state of equilibrium. Its internal heat and the centrifugal force due to its rotation about an axis are trying to expand it. Its own gravitational power is trying to draw all of its materials to the center. Until there is a loss of heat no contraction can occur; but just as soon as there is such a loss gravity proceeds to diminish the stellar volume. Contraction will proceed more slowly than we should at first thought expect, because in the process of contraction additional heat is generated and this becomes a factor in resisting further compression. Contraction is resisted vastly more by the heat generated in the process of contraction than it is by the store of heat already in evidence. The quantity of heat in our Sun, now existing as heat, would suffice to maintain its present rate of outflow only a few thousands of years.

With Duerer and Holbein German art reached its apogee in the first half of the sixteenth century, yet their work was not different in spirit from that of their predecessors. Painting simply developed and became forceful and expressive technically without abandoning its early character. There is in Duerer a naive awkwardness of figure, some angularity of line, strain of pose, and in composition oftentimes huddling and overloading of the scene with details. There is not that largeness which seemed native to his Italian contemporaries. He was hampered by that German exactness, which found its best expression in engraving, and which, though unsuited to painting, nevertheless crept into it. Within these limitations Duerer produced the typical art of Germany in the Renaissance time--an art more attractive for the charm and beauty of its parts than for its unity, or its general impression. Duerer was a travelled man, visited Italy and the Netherlands, and, though he always remained a German in art, yet he picked up some Italian methods from Bellini and Mantegna that are faintly apparent in some of his works. In subject he was almost exclusively religious, painting the altar-piece with infinite care upon wooden panel, canvas, or parchment. He never worked in fresco, preferring oil and tempera. In drawing he was often harsh and faulty, in draperies cramped at times, and then, again, as in the Apostle panels at Munich, very broad, and effective. Many of his pictures show a hard, dry brush, and a few, again, are so free and mellow that they look as though done by another hand. He was usually minute in detail, especially in such features as hair, cloth, flesh. His portraits were uneven and not his best productions. He was too close a scrutinizer of the part and not enough of an observer of the whole for good portraiture. Indeed, that is the criticism to be made upon all his work. He was an exquisite realist of certain features, but not always of the _ensemble_. Nevertheless he holds first rank in the German art of the Renaissance, not only on account of his technical ability, but also because of his imagination, sincerity, and striking originality.

Though he never lies in wait, yet, when he hears, sees, or scents a man, he immediately utters his characteristic cry, prepares for an attack, and always acts on the offensive. The cry he utters resembles a grunt more than a growl, and is similar to the cry of the Chimpanzee when irritated, but vastly louder. It is said to be audible at a great distance. His preparation consists in attending the females and young ones, by whom he is usually accompanied, to a little distance. He, however, soon returns with his crest erect and projecting forward, his nostrils dilated, and his under-lip thrown down; at the same time uttering his characteristic yell, designed, it would seem, to terrify his antagonist. Instantly, unless he is disabled by a well-directed shot, he makes an onset, and, striking his antagonist with the palm of his hands, or seizing him with a grasp from which there is no escape, he dashes him upon the ground, and lacerates him with his tusks.

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